The Knife of Never Letting Go

THE KNIFE OF NEVER LETTING GO, by Patrick Ness, is one of those wonderfully deceiving Young Adult books that reminds us all of the days when there was no such thing. It’s a simple story...in a gritty, continually plot-twisted, thought provoking and emotional thrill-ride kind of way.

I could simply call it a story about a boy and his dog, or boy meets girl, or coming of age...but then I’d have to mention that the dog talks, the girl is seemingly the only one on the planet, and that being a man isn’t exactly something worth envying here.

You see, Todd Hewitt is the last boy in his town on a colonized planet where biological warfare with the alien natives killed all women and caused all men and creatures on the planet to have their thoughts projected out loud in a jumbled “noise”. It’s worse than it sounds, however, because as Todd tells us, "The first thing you find out when your dog learns to talk is that dogs don't got nothing much to say." And when Todd finally discovers the girl, it results in a race for their lives, because there’s more to this world—and Todd’s town—than meets the eye.

I was worried when I first heard of the book. The setting is nothing unique—it’s practically the same old tired European world we see in traditional fantasy, with just a hint of western thrown in (the western aspects were what kept me hopeful). The concept doesn’t sound too complicated (so thoughts aren’t private. Meh.) The main character is a young boy with a dog...nothing really new there either (I've read enough variations of 'Old Yeller', thank you). But from the very first line I was hooked. What really makes this story (the first in a series) fly, is the writing. Ness not only maintains the mystery, the conflict, the emotion, the world concepts, and the narrative voice here, he amplifies it. I can’t count the number of times I shouted out, mid-read, “that could not have just happened.”

Then there’s the depth of the concepts. The ideas of what makes a man, morality of thought, violence, and gender differences are all raked through the coals. It could have been easy--especially in yet another young adult offering--to simply let the concepts become a splash of paint on the backdrop . . . but THE KNIFE OF NEVER LETTING GO is meant to provoke you.

Even the flaws--valid though they are--can be offset. The novel isn’t a satisfactory stand alone but ends in a cliffhanger, but that’s made moot by the fact that all three novels of the Chaos Walking trilogy are all out in print. The first person present tense that usually runs rampant in YA (often a crutch to help poor writers have an easy way to share character emotion and help readers have empathy with characters) is used to its full and proper effect. Instead of the character “confiding” in his emotions, we can feel them because of the writing, not the tense--and the emotions are deep and powerful here as well. Then there’s the young adult direction of the book, which is reminiscent of Reeve’s Hungry City Chronicles. But while some revelations are revealed later than they could be, and the character's are a bit naive, Young Adult is really just a label here. It's even a more adult read than Reeve’s works. Characters in this book kill (and brutally too), but in a way that invites young adults to the adult world of literature. Conceptually, it isn't as grim as The Hunger Games, but it comes off as far more gritty due to the depth of character and emotion--which ultimately leads to a more powerful read.

While everyone loves a good fantasy, epic, gritty, or otherwise, THE KNIFE OF NEVER LETTING GO reads like a modern SF/Fantasy CATCHER IN THE RYE, or THE ADVENTURES OF HUCKLEBERRY FINN which only enhances its flavor. No, it isn’t epic in its fullest sense. There’s only the single POV (in this first book, anyway), and the conflicts aren’t global (again, in this first book, anyway), but there’s a more personal, intimate connection for the reader here.

If you want something different as well as something enjoyable, as only the SF/Fantasy Elite do on occasion--and you can handle the smallest hint of YA--give it a try. It’s good to see that Young Adult isn’t just full of Harry Potter or Twilight retread, but can still give something along the lines of Fahrenheit 451 or Lord of the Flies (The closest thing to Young Adult some of us older Elitists got).

Recommended Age: 14 and up.
Language: Hells, Damns and occasional references to female dogs. Many “I didn’t say fudge” moments, though.
Violence: Yes. Murder and beatings—though it’s tense, it isn’t graphic.
Sex: A tiny bit of innuendo—thoughts are public knowledge, after all.

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Posted in Books We Like , Dystopian SF , Patrick Ness , Young Adult

Mockingjay

Suzanne Collins' The Hunger Games series has created a buzz in the Young Adult world. Her version of a future American dystopia is grim and disturbing. And compelling. The final novel, MOCKINGJAY, was released in August with great anticipation...but was it worth getting all worked up about?

The series begins with THE HUNGER GAMES, an exciting, brutal, and clever story. The setting is well done and artfully displays a society that's rotting from both ends. HUNGER GAMES explores the themes of an influential propaganda machine and an extravagant Capital at the expense of the people, then takes it the next frightening step.

The second novel, CATCHING FIRE, is the weakest in the series because not only is it a rehash of THE HUNGER GAMES, the entire first half is a distanced narrative that doesn't advance characterization and only minimally advances plot. It was as though Collins wanted to get the start out of the way so she could set up even more over-the-top Games for this round (which, I have to admit, were decidedly clever, the new characters interesting), and set up the events for the final novel.

In the third installment, MOCKINGJAY, the aftermath of the 75th games can now finally resolve book two's cliffhanger ending. District 13, the name the rebellion has given itself, has taken over the former District's underground bunker and created a new life for Panem's refugees--one that's startlingly similar to the Capital in it strictness and control. District 13's leader, President Coin, wants to use Katniss Everdeen as the face of the revolution, call her the Mockingjay (a reference to the Capital's past failed manipulations), and use the rebels' own propaganda to garner support from the other districts. If they succeed in taking the other Districts, then they plan to invade the Capital itself. But will Panem only be trading one tyranny for another?

MOCKINGJAY expands the themes from the first two novels: Is war the best way to resolve conflict? Is revenge justifiable? Is controlling people ever reasonable? Collins succeeds in building on the the setting as she explores District 13 and its own distinct culture, and creates a world we'd be afraid to live in--a world frighteningly similar to the Games itself. Katniss must deal with Peeta's imprisonment by the Capital, Gale's romantic frustrations, and decide whether being the Mockingjay is the right thing to do. She has a hard road ahead of her.

Collins is consistent with Katniss' character, her first-person present tense PoV clean, straightforward, and engaging. Katniss starts out the series strong and capable, if cynical; but when we reach MOCKINGJAY, instead of growing as a character, she stagnates. This is supposed to be a coming-of-age story and instead of growing into a woman she continues being a whiny and indecisive teenager who, despite a few bursts of independence, gives up. The only thing she's truly decisive about is her desire to kill President Snow, but at the same time is ambivalent about the war. It doesn't help, either, that she spends half the novel in the hospital or recuperating from injury, which was too much downtime. Katniss has spent her life taking care of her family in the absence of her father and has even survived the Hunger Games twice, so she's earned the right to claim her adulthood--but instead fails to take the next crucial step. This alone will disappoint readers. But wait, there's more.

The story starts out fine enough, but it progresses slowly with spurts of action. By the end the rebellion contradicts its goals, the battle's high body count has no clear purpose, the PoV character Katniss doesn't witness the climax, and then at the end there's ambiguity as to what life will be like for Panem after the war. "But," you say, "Collins is showing us how the powerful will control and hurt innocents to get what they want. And Katniss' ineffectiveness is simply a result of their control!" My reply: Collins' points could have come across just as well with a clearer resolution and more complete character arc. However, Collins is true to her story, and as a result the characters don't emerge unscathed--for a story like this it's difficult to have other than a bittersweet ending. This hard reality may leave readers ambivalent about how Collins chooses to end MOCKINGJAY.

If you haven't read the series, perhaps you're wondering if all three are worth reading. The up-side is that the novels are short so it's not a huge time commitment to read all three. If you have teenagers, they'll likely want to want to read the series, and you'll need to know how to discuss its disturbing themes with them. But beyond that, what do I really think? Only read THE HUNGER GAMES and call it good enough.

Recommended Age: 12 and up, or older depending on your kids, due to themes and violence.
Language: None.
Violence: Quite a bit, actually, for a YA novel. While most of it does happen off-screen, it's still disturbing and frequent for its target audience.
Sex: Katniss is frustratingly oblivious to romantic overtures. There's kissing, falsely implied intimacy, and references to sexual abuse.

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Posted in Books We Like...and Hate , Dystopian SF , Suzanne Collins , Young Adult

The Maze Runner

James Dashner's THE MAZE RUNNER has garnered a lot of attention since it's release. It is a novel filled with really cool and unique ideas, so on that end, its attention is completely understandable.

The plot centers around a group of amnesiac teenagers, stuck together in a foreign, hostile, and deadly maze, where bizarre creatures roam. These creatures are called Grievers, and they hunt the Gladers--as the kids call themselves--while the walls of the Maze are constantly changing. They are in marginal contact with their "captors" who send them supplies and new kids. However, the schedule of "one new kid a month" is broken the day after the main character Thomas arrives, when Teresa, the first girl Glader ever arrives with a message that "Everything is going to change." We should mention hate this over-used phrase.

We both froth at the mouth for a good dystopian story, go into convulsions for a post-apocalyptic story, and one of Nick's favorite topics is social experimentation. With all of that going for it, you would think this good would be a shoo-in for a recommendation for us, right?

Uh...hesitantly so. Kinda. The first conclusion that we both came to after reading the book, was that it was a fantastic book, completely entertaining, and ridiculously annoying. It's probably the most irritating good book we have read.

The first thing to mention about our irritation is that it has all the bad parts of the TV show Lost, and the irritation of WoT. None of the characters will communicate! We think it is cheating to fake adversity because the characters act like idiots, when it behooves them not to. Maybe we give too much credit to humanity, but when there is a problem to be solved, usually people will, at least eventually, come together to solve it. While the Gladers do cooperate to create a kind of Lord of the Flies hierarchy and governance so that they can survive, they don't cooperate when it matters most.

It seems like Dashner just included zero communication simply for the sake of adding conflict. So many times it made sense for the characters to talk to each other, but instead nearly all of the dialog devolves into "You're so dumb for asking that question. We aren't going to explain anything to you because you're a newbie. We get really upset and irritated when you ask questions, but we sure aren't going to answer them so you will stop asking. We'd prefer that you just keep asking us questions so we can call you names and stay in this awesome Maze forever. Let's go eat, so you can ask me more questions that we won't answer so we can call you more names, that you don't understand, because we won't answer your questions."

OK...we exaggerate...barely. Some quotes from the book:

"Why do you come in here asking stupid questions? It's really annoying." No, Dashner, what is annoying is your way of avoiding having to answer questions.

"Thomas wanted to scream. He knew he had a lot to learn. That's why he was asking questions." We wanted to scream too.

Another thing that bugged us, more than just a little bit, were the logical inconsistencies in the book. Yeah, we know it is a YA book, and perhaps our expectations were a bit too high. Admittedly, when we read a book like this we want our minds blown, not mildly stirred.

Example? For over TWO YEARS the Gladers were mucking about in the Maze, and they couldn't figure it out until Thomas and Teresa came to the Glade. The solution was obvious from close to the beginning, and we both were hoping it would be something a bit more inventive. It wasn't, which made us mad because we couldn't believe it never occurred to the characters to try it.

Then there is the fact that if the characters get stung by a Griever, if they get back to the Glade in time, they are given Grief Serum which briefly, and violently restores some of their memories. But if they talk about them, something happens they wind up doing crazy stuff like trying to kill themselves. Well a certain character (we don't want to spoil it) gets stung, gets the Serum, and then proceeds to disobey all the rules Dashner has set on how characters react to this...with no repercussions.

So yeah. Logic holes. They bother us.

Also...the book hamstrings itself. The aforementioned problems keep the throttle in idle instead of letting it roar, and the ending happens a few chapters too early, making the climax actually pretty boring.

We guess we should throw in a mention of what we actually thought of the characters themselves. Honestly, it was somewhat hard for us to care about them. Dashner's focus on denying information to both the characters and the reader was 100% successful, but had the side effect of denying us a connection to them. When any of them died, it was with no drama, for us, whatsoever. We didn't care at all what happened to any of them. Even when a certain character dies that was supposed to be a big deal...well, it just wasn't.

OK, that's a lot of negative...and normally would be enough for us to put the book down. However, it was a short read. Just a couple hours, which helped it out immensely. We both, despite the irritation, liked the book. When we talked about it, it was much harder to define why we liked it than why we didn't but we kept coming back to the conclusion that we did enjoy it. How's that for vague?

Perhaps it was the fact that it truly was an attempt at something very unique. Yes it took things that have been done, but blended them into this cross-genre tale. If you took ENDER'S GAME and LORD OF THE FLIES, and smashed them together, you would get something a lot like this. Which, is more than just one point in the win column.

We suppose our final conclusion is that if you like to read YA a lot, and you can forgive the lack of communication in the novel, you should give this book a try. If you like dystopian stories, then you will find something to enjoy here.


Recommended Age: 13 and up.
Language: Well it is obvious that Dashner wanted some vulgarity in the dialog, but he replaces all the words with something else. We know what he is saying, but it doesn't actually swear at all.
Violence: There are a few scenes but it is really tame.
Sex: None. At all.

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Posted in Books We Like...and Hate , Dystopian SF , James Dashner